Nolan non riesce proprio ad arrivarmi al cuore. Il parallelo con gli orrori della guerra portati sul grande schermo da altri giganti del cinema viene spontaneo ed è impietoso: dove lì c'erano le idee, il messaggio, la profondità, qua rimane solo la perfezione formale e la necessità di stupire a tutti i costi, in un bignami onanista del tutto artefatto e povero di emozioni. Niente da fare, sarà per la prossima,
It's not Nolan's greatest film (that would still be 'The Prestige'), but it IS his most technically assured. His use of sound specifically is borderline revolutionary. It's an amazingly assured war film where the characters on screen aren't "heroes", but rather lucky survivors.
Impressionismo puro. Orgoglio british. Montaggio visivo e sequenze narrative molto belle. Non è il solito film di guerra eroi contro cattivi. Il film va visto con gli occhi dei britannici. Quella triste storia che per noi potrebbe essere considerata solo una catastrofe, per loro è stata la somma di piccole e piccolissime storie personali e famigliari che hanno ridato vigore e speranza per ripartire.
along with apocalypse now and full metal jacket, one of the few war films I truly appreciated. fresh approach, clever editing, much suspense. also, I hardly believe it was nolan's intention to create complex characters or give deep meaning to all this, but I understand how these aspects might give the impression it was a cold, maybe too impersonal exercise.
Nolan followed the same approach that Malick had with Thin Red Line, giving emphasis to the "silence of the war", involving the viewer through a technical mastery in photography and sound. Absolutely immersive, I felt I was on that breathless environment where times counts second to second, death to death.
Beautiful cinematography by van Hoytema and, all in all, a well edited film. However, I found the dialogue a bit weak and I never really developed any kind of attachment to the characters (bar on a few rare occasions). If I hadn't seen it in a cinema it might have rendered a lower score as the visuals stood out the most. (Caveat: It should be said that this usually really isn't my cup of tea genre-wise)
Nolan is a master of taking emotion and anything real out of a situation and distilling it to its most empty. He arrogantly assumes we all hold the same reverence for British endurance and will revel in the subject matter just because that he forgets to invite us into this happening at any point. If this was North Korea or Communist China they'd call it propaganda.
As a kid watching 50-minute-long IMAX nature documentaries, I imagined what it might be like in the future if we started using IMAX film for fiction storytelling. I'm really impressed by Dunkirk: using cinema with an aim to capture and communicate the *experience* of a story. Very minimal digital effects. Very minimal dialogue. Just hugely immersive, motion photography and a stressful, gently contemplative plot.